Paul Moon’s Post

Check out my review for Brummell Magazine of the new Royal Academy show 'Entangled Pasts, 1768-now, Art, Colonialism and Change' here:

Did you know that postage stamps are miniature works of art, with many countries featuring unique designs, historical figures, and cultural symbols on their stamps?

The arts are an integral part of South African culture, meshing our past, present and future into a single medium. At the recent Canvas and Community celebration, we got to imagine a South Africa that does better for the art economy. https://lnkd.in/d6xNQ6gF

This eye-of-the-beholder dynamic between vandalism and urban art form has been a reality since the earliest days of urban graffiti. One person’s artistic expression is another person’s problematic eyesore. In the nation's capital, both sides of that perspective are on full display. Read the full story here: https://buff.ly/4eg5rET

July 2024 -- Some recent art theory articles discussing theory art in the context of art history, conceptual art, postconceptualism, postminimalism, and postmodernism -- https://lnkd.in/gEg4qV64

Happy pub date to Rafael Schacter! "Monumental Graffiti" is a gorgeous new art book that we're proud to publish. What is graffiti—vandalism, ornament, art? What if, rather than any of those things, we thought of graffiti as a monument? How would that change our understanding of graffiti, and, in turn, our understanding of monument? In Monumental Graffiti, curator and anthropologist Rafael Schacter focuses on the material, communicative, and contextual aspects of these two forms of material culture to provide a timely perspective on public art, citizenship, and the city today. He applies monument as a lens to understand graffiti and graffiti as a lens to comprehend monument, challenging us to consider what the appropriate monument for our contemporary world could be. https://lnkd.in/eMZZ3dvh

Explore the Group of Seven's profound impact on Canadian art, their unique lens on the nation's landscapes, and the interplay with Indigenous reconciliation. 😊 https://lnkd.in/gHDv9jHv

For Tate Britain’s Duveen Commission in 2010, the artist Fiona Banner didn’t make a thing. Two recently decommissioned RAF planes – a Sea Harrier hung from the ceiling and a Sepecat Jaguar parked on the gallery floor – were the extent of Harrier and Jaguar (2010). ‘Through the total oddity of their placing, and their enormous, undeniable presence in the otherwise civil and orderly gallery,’ Nathalie Olah writes, ‘Banner’s planes suggested the violence of Britain, the violence of Westminster just a few streets away, and perhaps the violence of art.’ Banner’s intervention speaks to the murky relationship between cultural institutions and a warring world – in 2010 and today. Olah cites examples like Hito Steyerl’s book, Duty Free Art (2017), in which Steyerl tells of how a Soviet battle tank was driven off a Second World War memorial pedestal in eastern Ukraine; and London’s Imperial War Museum, where in 2015 an assault rifle, discovered to be the murder weapon used to kill five Catholic people in Belfast in 1992, was removed from its cabinet. ‘The storage unit generally exists outside the scope of human activity,’ Olah explains. ‘And yet, from tools of propaganda to items looted in campaigns of cultural impoverishment and psychological tyranny, munition and even possible evidence, much of what the gallery contains has a possible political and functional life beyond its four walls.’ Indeed, Olah continues, ‘the ongoing brutal siege of Gaza – with Israel facing charges of genocide in the ICJ – has exposed the limitations of the international legal system and other instruments of Western imperialism’. What does this mean for institutions of cultural expression, held up by the hegemonic West as its apogee? https://lnkd.in/eFPyE32i

progress is so sweet.

Learn how studying Indigenous art can help you develop a better understanding of the history, perspective and traditions of Native American people. #IndigenousArt #RMCAD #Blog ➡️ https://ow.ly/JgTV50R75nn